Line Out Music & Nightlife


News & Arts

Archives for 07/06/2008 - 07/12/2008

Saturday, July 12, 2008

Lisa Loeb Likes My Glasses

posted by on July 12 at 11:38 PM

Lisa Loeb @ Seattle Barnes & Noble, 7/12/2008

Lisa Loeb had an in-store performance at the downtown Barnes & Noble Saturday afternoon. The appearance was in support of her B&N exclusive CD Camp Lisa, for which all proceeds go toward sending underprivileged kids to summer camp. Fittingly, the CD is Lisa’s renditions of popular camp songs, and she performed many of the songs (and yes, “Stay”) in the kids section of the store before a signing/picture session (where she mentioned multiple times that she liked my glasses, thus making my damn day).

Video of a couple of the songs performed after the jump. The CD seems like a good purchase for those of you with kids out there.

Continue reading "Lisa Loeb Likes My Glasses" »

Ganga Fun (Speakers Went Kapoot)

posted by on July 12 at 12:01 PM

Dyme Def and Champagne Champagne celebrated Kevin Hulett’s birthday at Sole Repair.

Champagne Champagne doubled up and nudged in with the crowd. Off off the hook hook.


Dyme Def was their usual three-sided ganga beast. Even with massive sound trouble (blown speaker) fun and Dewars were had.


S.E.V. the classic Mariner. He says look for their new mixtape 3 BadBrothaaas out now:


Space Needle Captured!

posted by on July 12 at 10:04 AM

Dear Sub Pop, Happy Birthday! I almost sh*t my pants climbing to the top of the Space Needle with you, but now I love you even more. Yours, Kelly O

Photos after the jump…

Continue reading "Space Needle Captured!" »

Friday, July 11, 2008

Two Great Things From the Last Week

posted by on July 11 at 5:00 PM

1) If you’re a user, then you should definitely be aware of lastgraph3, which will build beautiful plots of your listening habits over time. It’s a much better way to sift through that data than provides natively. Great eye candy.


If you want to view my listening obsessions since I started using, my page is here.

[via Skye]

2) I spent a large portion of the evening of the fourth staring at a grid of blinking lights, which was more engaging than the fireworks in the sky. The Tenori-On supplants the Nintendo Wii as the ultimate party toy, allowing the user to create and modify sequences of electronic music on the fly, with a built-in collection of instruments and effects that build to passable electronic music without any sense of musical skill. Sure, serious musicians use them too, but it seems best suited as a $1200 conversation piece. Here’s video of the Tenori-On in action.

Jamie T : “Sheila”

posted by on July 11 at 4:03 PM

Jamie T - 'Sheila'

Wait, back up.

All the way to the year 2006.

There was a 20 year-old English boy from Wimbledon called Jamie T. Jamie T put out a single called “Sheila.” The song was very good.

Jamie T, in case he’s unfamiliar, is the one, along with Plan B, Day One, Just Jack, and Audio Bullys, who is part of the small, Mike Skinner-inspired movement of male British hip-hop musicians that’ve been born not from miming the American mainstream, but from eddying in and out of the black dance music scenes of U.K. garage, drum ‘n’ bass, and grime.

“Sheila” was his first song.

Essentially three different and connected stories, “Sheila” is 1.] about a girl who drinks herself into the Thames, 2.] a boy with an out-of-control gang, and 3.] a daughter addicted to her brutal father. The music is a wall of rapid-fire, slurred speech, chopped-up acoustic guitars, these bent hip-hop beats, and one lone shimmering and somehow playful acid house keyboard bit that contradicts everything.

I love the way the chorus starts it all. Which almost never works.

I love the samples. Which hurt like wounds. “It’s over, man, it’s over.” Or, “Good heavens, you boys — blue-blooded murder of the English tongue.”

I love the details, the recurring “London!” scream, or, right before the second verse, the segue of Jamie’s “Bluh!” Or the way the words spit out like piss.

I love how the video has Bob Hoskins singing the whole thing.

I love the language. “Sheila goes out with her mate Stella / It gets poured all over her fella.” Or, “Behave young scallywag! / A fine young Gal I Had.” Or, “Her lingo went from the Cockney to the Gringo / Anytime she sing a song the other girls sing along / And tell all the fellas that the lady is single.” Or, “She been buckle-belt, beaten from the back like a brat / Dunno where she’s going, but she know where she at / So, Georgie, it’s time to chain react,” and then, “But the truth is, you know, she’ll probably fall back.”

While a couple of the other singles — such as the drunken, swaying, sped-up, classic ska of “If You Got The Money,” and the soft and warm-breeze-from-a-fire of “Calm Down Dearest” — show there’s more to Jamie T than a single idea, Panic Prevention, the 2007 debut album, failed to come together and only brings out his worst flailing and can’t-be-bothered, pub-damaged habits. It needed more time.

“Sheila,” though, yes. One of the starkest and most addictive songs of the last twenty-four months — gorgeous, harrowing, and extraordinarily well-written. Music for a lost Mike Leigh film.

And unlike most music of the time, it remains vital and full of color two years later, despite the hype.

One day, he might be able to pull it off again.

Oh Yeah, I Forgot About That Record I Made With Jimi Hendrix

posted by on July 11 at 3:49 PM

Another long lost Hendrix tape has surfaced, and this time it’s not a porno. From Uncut:

A lost album Jimi Hendrix recorded with Stephen Stills has been discovered more than 30 years after it was recorded

Stills recently found the recording among a stack of material he taped during the 1970s, and is due to be released by his Crosby, Stills and Nash bandmate Graham Nash.

“He has an enormous history of recording,” says Nash in an interview with the Las Vegas Sun.

“In the ’70s, he was a recording fool. He just found a bloody album he made with Hendrix. ‘Oh yeah, I forgot that.’ We’ve got to listen to that… I want to listen to every track he ever recorded in case he recorded with Al Jolson.”

(ht Daily Swarm)

World Domination

posted by on July 11 at 2:45 PM

ln_spko_5920.jpgBruce Pavitt and Jonathan Poneman raising the Sub Pop flag (photo by Kelly O)

So, blah, blah, blah, Sub Pop is 20 or some such nonsense. And they throw a motherfucker of a birthday party.

Last night things kicked off with a little to-do at the top of the Space Needle, which, as of yesterday was painted to look from above like a 7” record and was flying the Sub Pop flag. That is what world domination looks like. To say nothing of going out of business. Or hanging on the flippety flop.

Everyone was there, walking in circles, ricocheting from one bar to buffet table to another. I saw half of the Shins (the good half), so there’s obviously no hard feelings about them releasing their next record on their own label. I saw Spener Moody, so apparently the infamously hard feelings between Murder City and Sub Pop have softened at least for the occasion.

Maybe a half dozen people asked me if we were rotating, even though we were on the observation deck below the rotating restaurant. Someone told me it took them a minute and a half to walk around the outdoor observation ring. After a few drinks, it did kind of feel like we were rotating.

Anyway, it was a hell of a kick-off. Happy birthday, Sub Pop.

Another “Fuck You” to Apple

posted by on July 11 at 1:41 PM


It’s a little late to be jumping on this bandwagon, but Trent’s grievances became all too familiar for me today. A realization: It’s very hard to write for a music blog when your internet has no sound. That’s what I’ve been dealing with all morning. I was listening to the Feral Children track Pitchfork posted today when I got an alert from Apple that there were updates for iTunes and a download of Safari (I use a PC with Firefox, as I am a plebe). Since my current browser has been acting kind of weird lately I decided to give Safari a try. After restarting my computer I found that neither of my three internet browsers would play any sound. I’ve spent the last few hours installing and un-installing plug ins and trying various unsuccessful tips from help forums yet my internet is still agonizingly silent. Myspace songs won’t stream, Imeem won’t even play that Feral Children song again. The world wide web is a cold, harsh place with no sound. You really screwed me this time, Apple.

Although I am excited about the new guitar tuner application for iPhone. That is a pretty good idea, as long as it doesn’t cause something else to stop working.

Sorry to Pick at an Old (Boring, White) Scab…

posted by on July 11 at 1:06 PM


…but I’ve spent the past 24 hours listening to nothing but Rubber Soul and I can attest unequivocally and for all time that it is 30 times better than this album and 16 times better than this album.

That is all.

Candy Fest at King Comet

posted by on July 11 at 11:55 AM


Tomorrow, Saturday July 12th is Candy Fest at King Cobra and the Comet Tavern.

King Cobra and the Comet are coming together as one. Sharing love. Swapping spit. Getting stuck in each other’s braces.

Doors are at 4 PM and the music starts at 5. Tickets are $12 and one wristband gets you into both clubs. 21+

King Cobra:


Comet Tavern:


Trevor Rabin’s Disco Ecstasy

posted by on July 11 at 11:20 AM

Disco Love Bite LP

A disco album by a former member of classic prog-rock band Yes?!?! Who would of thought? In 1978 former Yes member Trevor Rabin released the disco record Disco Love Bite under the name The Tee Cee’s. The record has a dark erotic theme going on throughout each song, blending together disco-era percussion, prog influenced guitar and strings melodies, underneath mostly female erotic moaning. I pretty much fell in love with the record half way through the first listen with my favorite cut being “Ecstasy”. Who said prog-rock and disco can’t come together.

Download The Tee Cee’sEcstasy” off the record Disco Love Bite and more by visiting this site.

Shameless Promotion: Remember to check-out Chocolate City Disco tonight at the Re-Bar.

King Cobra For Sale

posted by on July 11 at 9:36 AM


King Cobra, Seattle’s new rock & roll nightclub and venue is for sale!

King Cobra is a rock & roll club in a great location, next to the Comet Tavern, and across the street from Neumo’s. It has a great sound system, a capacity of 475, and a growing reputation throughout Seattle as a great place to see a live show. We have a waiting list of bands who want to play. And our calendar is currently filling up with more quality shows every day.

King Cobra is currently a venue for live music 3 to 4 nights per week. The remaining 3 or 4 nights can be used for more interactive events that encourage audience participation. These events could include karaoke, rock band contests, game show night, and ssp wrestling. We make good use of the 4 projectors and a flat panel tv.

King Cobra is also open for DANCE CLUB nights, and comes with a complete dance floor lighting system with light jockey computer control system, plus DJ equipment, including Technics Turntables, CDJs, Mixers, and monitors.

The current owners, and some citizens of Seattle, would like to sell King Cobra with it’s current format, including a great calendar of upcoming events, and an all-star cast of employees.

We regret that we are forced to sell King Cobra.

The business is for sale because of these reasons:
1. Personal financial issues
2. Management mistakes
3. Lack of experience
4. Lack of marketing


1. Lease is 12,912.46 for about 6,000 sq. ft
2. Basement “greenroom” or private party room available at 1869 for 1869 square feet. Stairs lead down directly from stage. And there is a direct entrance to greenroom from 10th Street.
3. There are 2 years on the lease, and a 2 1/2 year extension
4. Currently, drink sales are 50,000 per month, but can be more with proper marketing, and as we book concerts with bigger draw. The previous owner did sales of 80,000.
5. Sales numbers are for drinks and food only, not including ticket sales.
6. We are up to date on all taxes and bills.
7. We have a good reputation with the city, the Liquor Control Board, and the police.

8. Sprinkler system installed throughout the building, including basement

9. Fully equipped kitchen included
10. Breaking news: we are now approved for all-ages concerts (bar with I.D.)

11. Asking price is 425,000

If you are interested, please contact Jamie Garza at

Thank you,
Jamie Garza
King Cobra

You Make A Dead Man Come

posted by on July 11 at 9:23 AM

From the Mail:

Ronnie Wood has left his wife of 23 years for an 18-year-old Russian cocktail waitress, it was claimed today.

The Rolling Stone, 61, is said to have taken Ekaterina Ivanova to his home
in Ireland, leaving his wife Jo behind at the family home in Kingston upon

Wood, an alcoholic who is said to have ‘fallen off the wagon’, met her three months ago after the Leicester Square premiere of Martin Scorsese’s documentary about the Rolling Stones, Shine A Light.

Totally dude, party like a rock star.

Thursday, July 10, 2008

Sawka D n B Set at Trinity

posted by on July 10 at 4:36 PM

Drum n bass fire-lord KJ Sawka is at Trinity Blue Room tonight.

Free before 10:00. $10 after.

It will be live dnb one-man marksmanship. Kevin Sawka swallows swords in the shape of incomprehensibly live beats.

Here’s Kevin on a roof in SODO:

The Long Winters DJing All Grunge Music at Linda’s Last Night

posted by on July 10 at 1:50 PM


by laura musselman

Add your own photos to the Stranger Flickr Pool.

Wax and Your Personal Monitor System

posted by on July 10 at 1:26 PM

The PSM 200 ‘In Ear’ Monitors.

With in ear monitors, you get the mix right into your ears. Be careful of the volume or you’ll go deaf. You also need to watch the wax.


Here’s the box. The chances this guy is not singing Matchbox 20 are slim to none. There’s nothing else he could possibly be singing:




Yes, it says Hybrid Bodypack. I asked my friend’s eleven year old son to take my Sharpie and make the guy on the box look like a clown:


1. Turn up the volume control only far enough to hear properly.
2. Ringing in the ears may indicate that the gain levels are too high.
3. If you experience wax buildup in your ears, stop using the earphones.
4. Wipe the earphones with an antiseptic before and after use to avoid infections.

Luckily the earphones come with wax guards:


Note: Nozzles can collect cerumen (earwax), which can clog the earphone and lower the sound quality. Cerumen is the yellowish substance our ears secret. It lubricates our ear canal and gives some protection from bacteria and fungi. It also tastes disgusting.

The Foo Fighters/Supergrass/Minus the Bear at KeyArena

posted by on July 10 at 1:25 PM


A couple weeks ago, we gave away a pair of tickets to the Foo Fighters/Supergrass show—Line Out reader Jon e. Rock was the lucky winner. Here’s his review of last night’s show (all photos by Morgan Keuler):

Although we have never met, it was good to see my close friend and hometown anti-hero Dave Grohl last night. We had a few beers, swapped tour stories, and generally made asses of ourselves; the only thing separating us was eight digits in the bank account, three semis, and four tour buses. Throughout the 3 ½ hour set, Dave would draw the audience close to his heart and take us through his voltaic discography of old and new hits. The only low point of the evening was missing calc rockers Minus the Bear, who were hand-picked by Dave himself to open the night.

Stumbling in half way through Supergrass’ tumultuous set (lead singer Gaz Coombes looking like a young, attractive Dr. Cornelius), I fought my way through a sea of dowdy cargo shorts and Etnies to find my front row VIP seat amongst the rest of the sitting elite. Then the lights turned down, the crowd screamed, and you know the rest…

Or so you may think.


Upon entering, Dave Grohl ran across the stage, and down the long catwalk dividing the floor, axe in hand and gleam in eye. Taylor Hawkins (who’s name should forever be hyperlinked to the pantheon of gods, as so), jumped up on his kit, ready to dominate (as later he would with a mind vomiting DRUM SOLO). He and Nate “I Dance Like I’m About to Fall Over in My High Chair” Mendel would fastidiously hold down the engine room for the next 3 ½ hours, from the opening “Let it Die” to the conclusion of the five song encore. Ex-Germ Pat Smear occasionally wandered on stage with a cellist/violinist/back-up vocalist, and an additional percussionist (Dave Grohl suggested that “if you want to start a famous band that sold lots of T-shirts you would hire this f’-ing triangle player already”).


Half way through their set, lights dimmed again, and a spot lit stage fluttered silently down from the ceiling at the back of the floor. This could only mean it was time for the acoustic set, while boys anticipated spoon moshing with their girls. This was where the true beauty of the songs came through, and Dave would continue to remind those in front of him that they no longer had the shitty seats. A chain-smoking accordion player would accompany the band, giving an eerie, European flavor to the normally screamy, explosive American pop songs. Ending this intimate time with a Grohl-only version of “Everlong,” Dave then lurched back down the catwalk as his band detonated the completion of the power ballad.


The main stage rock power continued with some more songs containing the rock dance formula “nod, nod, shake-your-head, nod, repeat” and a stripper blues cover of the Who’s “Young Man Blues” (where vocal duties were shared between Taylor and Dave).

Never would I have thought that 13 years of dude rock would continue to present itself in a fresh, cohesive fashion. The power and intrigue of the rhythm section, Dave’s ever abundant, child-like humor, and the surprising mix of dynamics and lighting throughout the evening surly left an indefatigable memory in this reviewer’s heart.

Mr. Grohl, welcome back to the Northwest. It’s good to see you again.


Tonight in Music: Jonathan Poneman and Bruce Pavitt Q&A

posted by on July 10 at 1:00 PM


Want to know how Jonathan Poneman and Bruce Pavitt have kept Sub Pop going for over 20 years? Tonight’s your chance to find out—the two Sub Pop co-founders will answer all your questions as guests in tonight’s “Oral History Live” presentation at the EMP. Visit the EMP’s website for more information.

First, brush up on a little Sub Pop history with the Poneman interview in this week’s paper. An excerpt:

Obviously, things in the music industry are changing—high gas prices are making tours more expensive, record sales are down—but Sub Pop is still posting profits. How? Is Sub Pop magic?

We have a great roster of bands, we have great people who bring artists to the label, and I think it’s a combination of luck, timing, and people being familiar with the Sub Pop logo because we’ve been around for a while. I have endured a couple different sorts of cycles since I’ve been doing this, and I hope to avoid the downtrend as long as I can, but if it were to come, then we would deal with that accordingly. It’s just the way business works.

It’s really an exciting time to be in the music industry. The thing that motivated Bruce and me from early on is that, more than wanting to be record moguls, we were very enthusiastic fans of the bands that we worked with. There’s really been no better time to be a music fan. There’s so much music available in so many different platforms, you can learn about and hear more music than ever before. So from a fan’s standpoint, it’s really good.

Click here to read the rest—including more about some of his favorite albums the label has put out over the years.

Want more? Search through our calendar for everything else.

Did You Hear? The 520 Bridge Is Closed This Weekend. All Weekend.

posted by on July 10 at 12:40 PM

Which S-U-C-K-S for anyone heading across the water for the Sub Pop festival. Thankfully, The Pop’s prepared for such a thing, and they have a few alternate routes: click here!

As already posted, Saturday is completely sold out, but tickets are still available for Sunday’s show (with Wolf Parade, Green River, Comets on Fire, No Age, Les Thugs, Kinski, and more). You can buy them through Ticketmaster.

Today’s Music News

posted by on July 10 at 10:39 AM

It’s not And The Ass Saw The Angel Part 2: Nick Cave publishes a book

Better than Myspace: starts paying royalties

Back on top: Lil Wayne bumps Coldplay off of Billboard’s #1

Not a Dead Kennedys cover: Buck Cherry’s new single

No thank you: Details on the soundtrack for the Lost Boys sequel

Blah blah Radiohead blah blah: New video uses new technology

People = Shit

posted by on July 10 at 9:11 AM

Let me make this clear - I never planned to be surrounded by thousands of people chanting along to Disturbed’s “Stupify,” but it happened. Somehow Zwickel convinced me to tag along with him to cover the first stop of the 2008 Rockstar Mayhem Festival at White River. I’ve only been to one show at White River: Radiohead. I didn’t like that venue one bit. Since then I have made it a point not to go back, until now.


Mastodon was the first band to take the main stage. They have been touring constantly for the last couple years and it shows: their chops are damn near perfect. The first half of the set was all Blood Mountain, the second half Leviathan. Even the guy selling sodas couldn’t help involuntarily headbanging to the opening riff of “Aqua Dementia.” Their set was short and excellently on point. I wondered how the troubled masses surrounding me enjoyed it. I heard one guy yell real loud, “Man, Mastodon FUCKING SUCKS!”

I wish my eyes were cameras so I could remember all the awesome tattoos and outfits I saw at this festival. There were a ton of Slipknot tatts, and way more of their shirts. I swear one in every four people was wearing a Slipknot shirt. One guy had a back piece of a giant flaming Chevy logo. As much as I wanted to ask somebody every 30 seconds to take their picture it seemed pretty much guaranteed that doing so would result in a fist to my face. I saw one fat guy wearing a black shirt that said, “Fuck Me I’m Fat,” and another guy wearing one that read, “I’m Fat Fuck Off.” The merch stands sold weed bandanas and leis with pot leaves and hats that incorporated the word “Fuck” in different ways. There was a stand for the “I (heart) Vagina Clothing Co.” It was fun watching a dad try to keep his kid from reading what the shirts said.

It seemed strangely fitting after the indie rock and grassy hills of Sasquatch that all the alternative kids would be watching their thin-sounding generic hardcore bands in a big cement parking lot. Man, they sure did love Underoath. Underoath sure does love Jesus, and they made sure to let everybody know. I’m familiar with little of their music, and after seeing them I have little desire to hear more, but I will concede that their performance and execution were much better than I would have expected. They did lose my attention however when a kid in a Cradle of Filth t-shirt with giant rubber flaps on his legs walked by. Then that kid had my full attention.


Dragonforce take the prize for the band having the most fun on stage, and really, it’s damn hard not to have fun watching them. Their intro began with classical music but switched to a voice over calling those kinds of dramatic openings “Gay.” It was replaced with a medley of Donkey Kong noises and the sound of someone crapping. Even if you hate their songs, seeing Dragonforce pull off those guitar solos is pure entertainment. The fact that the band obviously takes their shtick with a grain of salt makes it that much easier to stomach. Their performance was entirely feel-good and an awesome spectacle.

There was a woman in front of me who kept doing that church move where you raise your hands and let the spirit in, but she was doing it to the chorus of a Disturbed song. The people in that stadium FUCKING LOVED Disturbed. Never before had I seen devil horns or fist pumping of that magnitude. Thousands upon thousands of rabid fans, yelling the lyrics as loud as they possibly could. I’m going to be perfectly honest; I got a little freaked out. I have never felt so out of place, so surrounded by people celebrating something I so completely did not understand. They all sang, “Look in my mind, look in my soul.” If these people could have looked in my mind and seen how I felt about Disturbed they would have ripped my arms off. How that animated, growling phallus in a jumpsuit won the affection of so many thousands of people with his bizarre pterodactyl scream is one of life’s great mysteries. He thanked the audience for making their new record debut at #1: Disturbed is only the sixth band to ever have their first three records accomplish that. He then gave love to the troops and asked for the audience to show “a little fucking patriotism,” riling everyone up with a chant of “USA! USA!” Everyone was eating out of the palm of his hand, then: “It appears the entire state of Washington has become infected… WITH THE SICKNESS.” That thumping is the sound of hundreds of people banging along on the seats in front of them.

I have never sat so long through anything I enjoyed so little.


Somewhere deep down I have a soft spot for Slipknot. I spent many afternoons in the spring of my 16th year getting stoned in my bedroom, playing Tony Hawk on N64 and listening to their first record. Their first set in 2 ½ years began with a huge, startling explosion and columns of fire, then the proclamation, “Fuck it all, fuck this world, fuck everything that you stand for. Don’t belong, don’t exist, don’t give a shit, don’t ever judge me.” I can see how this band pairs well with Disturbed – one expresses anger though guttural noises, the other through constant immature cussing. But where Disturbed is painfully rigid and theatrical at least Slipknot know how to actually rock out while playing their dumb songs. They may be immature with their silly masks and angry-diary lyrics, but as far as an arena rock show goes they’re at least entertaining to watch. One of the DJs (or something) was jumping all over the place and wrecked his ankle trying to do a trick off the drum riser. He had to sit by himself in his booth for the rest of the set, his head-bobs looking all dejected. Poor guy went and hurt himself on the first night of a summer-long tour. Everyone chanted along to their track from Guitar Hero III “Before I Forget,” “The Heretic Anthem” and “People = Shit.” The singer promised to “personally spit in the mouth” of anyone who got a tattoo of their new record “All Hope Is Gone.” They ended their set with “(sic),” with the drums rising and tilting upside-down a la Motley Crue. Everyone was head banging, then there was another huge explosion, and it was over.

Sort of. It took an hour and a half to get from the parking lot to the freeway. White River: You are fucked.

Wednesday, July 9, 2008

“Smashing Pumpkins Plan 20th Anniversary Shows”

posted by on July 9 at 4:21 PM

Via Billboard/Reuters:

The Smashing Pumpkins will play a host of shows in the coming months to celebrate their 20th anniversary.

According to the group’s Web site (, the Billy Corgan-fronted band will visit “mostly smaller-sized venues” during an August run featuring “unique sets and songs.”

So far the only date announced is August 9 at the Venue in Hammond, Ind. Come November, the Pumpkins will anniversary shows at bigger venues in New York, Chicago, Los Angeles and additional cities to be announced.

Another run of dates focusing on the band’s debut 1991 album, “Gish,” are on tap for early 2009, with cities to be announced.

Smashing Pumpkins - “Today”

What Mountain?

posted by on July 9 at 3:58 PM

Let’s return to those enigmatic lines in the second section of Portrait’s post-black elegance masterpiece “Here We Go Again!”:

Climb a mountain (what mountain?)
Swim a sea (what sea?)
See what I mean? (no?)
I don`t know but I don`t want to get too deep

Let’s do it! Let’s “get too deep.” What is happening in this passage? The response to the rapper is that he sees a mountain and a sea, but this is the wrong response. It’s not a matter of seeing a mountain and sea, but doing something on the mountain and in sea: in the first he is climbing; in the second he is swimming. So, when he says: “See what I mean?,” this meaning has to do with doing something and not the thing that something is being done to. Deeper yet, this doing is not done in the world of objects but in the very opposite: a state of mind. Climbing, here, is an idea of climbing; swimming, an idea of swimming. And so what the rapper wants the other singers to grasp is the idea (or universal concept) of these activities. In conclusion, the rapper in the lovely (even heavenly) post-black elegance tune is a Platonist.

Phantom Planet @ El Corazon

posted by on July 9 at 3:24 PM


by BrittneyBush

The Best Thing Jawbreaker Ever Did Was Break Up

posted by on July 9 at 3:05 PM

Okay, so that’s not entirely true. It’s very possible that if Jawbreaker stayed together, they would’ve continued to release really, really great records. But it’s also possible that if they stayed together, they would’ve started to suck and it would’ve tainted my image of them and instead of praising Jawbreaker and getting stoked for a (possible) reunion, I’d be sighing and wondering why they’re still making music at all (cough cough, Weezer, cough cough).

That would be so awful.

So this morning I was thinking about the bands that I wish would’ve gone the way of Jawbkreaker—bands that were great, showed a lot of promise, and then started to suck. Jimmy Eat World came to mind. Bleed American (AKA their self-titled record) was a really solid pop record, but it didn’t have the same anthemic, magnetic quality that Clarity still has. And Futures was just bad. And their latest? Forgiveable but unmemorable songs about dancing alone in your bedroom. So sad. If they had quit after Bleed American, taken a few years off, and then toured again, then I’d be stoked for their upcoming show at the Showbox SoDo (July 15th). But they didn’t, and I’m not.

Weezer the other obvious example. Obviously.

I polled a few friends to see what they had to say. On the “should’ve called it quits” list: Alkaline Trio, Metallica, Weezer, Public Enemy, Hella, Saves the Day, Belle & Sebastian, Cave In, Metallica again, Green Day, and NIN.

So maybe, instead of cursing the Jawbreaker break-up for years, I should’ve been thanking them. I got to keep their great records, they got to keep their great reputation—everyone wins.

Wish I could say the same for Jimmy Eat World.

Now here’s the Alkaline Trio video for “Goodbye Forever.” Look at Skiba! He looks like a lil’ baby! Awe!

Tonight in Music: Foo Fighters, Supergrass, We Are Scientists, and Cut Off Your Hands

posted by on July 9 at 2:08 PM

We Are Scientists - “Chick Lit”
Cut Off Your Hands - “Oh Girl”
We Are Scientists, Cut Off Your Hands, the Morning Benders
(Neumo’s) I have a grudge against We Are Scientists for no other reason than their name evokes the much superior but long defunct Cap’n Jazz (We Are Scientists did not, they insist, take their name from the Cap’n Jazz song, but still). Also, you know, their music is decidedly meh. Decidedly not meh, though, are openers Cut off Your Hands, a New Zealand band who were briefly called Shaky Hands before losing the moniker to Portland’s the Shaky Hands. So many name games. Anyway, the now-severed Hands make a new-wave noise that’s as shaky as it is taut, their fast-cornering rhythms, faster guitar lines, and charmingly accented choruses recalling nothing so much as the inspired revivalism of the early Futureheads. Eric Grandy


Foo Fighters, Supergrass
(KeyArena) A heartfelt plea to Dave Grohl: Please stop with the emo. Please get back to some other kind of music, like punk. Please stop singing songs about grace and beauty. You’re one of the greatest rock drummers our planet has ever seen, and you’re fucking it up. Too many Foo Fighters songs start pretty, build to a point, and then there’s the repetitive Grohl scream where the same lyric is yelled over and over until the song ends. Please Dave, don’t do it for the kids anymore, do it for your legacy. Your legacy contacted me and asked that your next album be named Ooze, Volume, Rushing, Disgrace. Trent Moorman
Supergrass - “Bad Blood”

There’s more! Take a look at our online calendar for all the listings.

If 6 Turns Out to be 9, the Camera’s Upside Down

posted by on July 9 at 1:57 PM


It appears the recently rumored Jimi Hendrix Sex Tape is actually going to see the light of consumerism. Hendrix’s estate has not denied nor confirmed the validity of the tape, so Vivid Entertainment will be putting the silent, 40 year old film on shelves for $39.99. Watch the NSFW trailer on the tape’s website to decide for yourself if it really is Jimi quenching his “Burning Desire.”

(ht and title props to Idolator and one of their witty commenters)

Today’s Music News

posted by on July 9 at 11:18 AM

Crash and co.: More news on The Germs biopic

Stickin’ with Super8: Red Roof hotels embrace country music

CDs really fuckin’ blow: Radiohead and Coldplay vinyl reissues

Spot the typo: The Faint’s summer tour

Bizarre gardening accident: Opera legend breaks legs

To hell with sunshine: Fall metal tours

Thomas Jerome Moulton

posted by on July 9 at 11:18 AM


Many disco lovers know about the numerous brilliant and legendary productions and mixes that disco legend Tom Moulton has contributed over the years, however, what people might not know is his late 1970’s project TJM, which stands for Thomas Jerome Moulton. In 1979, Moulton under the project name TJM, released his debut record off of Casablanca Records. The record consisted of four tracks including the disco classic “Don’t Need No Music”. I recently heard this record, and was pretty much blown away from the start. It definitely makes me wonder why some of these tracks haven’t recieved more attention, especially in disco mixes and DJ-sets. Regardless, I was extremely happy when I found this record for only three dollars in some random budget bin, especially since I would of paid a lot more for it. Anyways, I’ve always loved most of Tom Moulton’s productions, however I have a whole new reason to love him even more.

Download songs off of Tom Moulton’s 1979 TJM LP and more by visiting this site.

Fuck You Apple, We’re Not Cattle

posted by on July 9 at 8:22 AM


Dear Apple,

I tried (all frikking day long) to transfer an iTunes library from one PC to another. Someone bought a new computer and asked me to transfer their iTunes library to it. “No problem,” I said.

Five hours and three calls to Apple Support later, I failed. You see, it was the Playlists that were important. The person didn’t want to lose their Playlists. But I lost them. I printed out the twelve page instructions for ‘How to use your iPod to move your music to a new computer’ and followed them exactly. But I still lost the Playlists. I would have lost the music too, but thankfully I had backed it up.

How about ‘How to use this motherfucking rage I’m feeling?” How about that, Apple?

I hit ‘Apply’ and everything vanished. Nothing transferred, no music was there. I was so pissed off I could not speak. Then I got to hold for fifteen minutes waiting to talk to a human and got to put those minutes on my phone.

By the time I spoke to someone I had built up a day’s worth of frustration. I said to the Apple person, “I’m not cattle, don’t treat me like cattle. I am a thinking, feeling, human being who can operate computers.”

What gets me is that they know if they make it difficult enough, you will have to go online to the ‘help’ section where you are shown endless advertising. Then you call them and you are so frantic to fix the problem you give them your email address and they send you more advertising. And finally, you will have to go into the Apple Store, where you will spend every cent to your name.

Apple knows if we see enough product, we will buy. It’s like at the grocery store how they put the milk and the bread as far away from each other as possible. They know if we walk through the grocery store, we will buy beer, Kit-Kat bars, and steak.

Hear me now, Apple people. We’re not cattle, some of us can walk through the grocery store and not buy beer, Kit-Kats, and steak. (We may browse Heavy Metal Magazine, but we don’t buy it.)

Apple needs to simplify the instructions and stop cramming advertising up our asses. You know and they know it doesn’t have to be that complicated.

Tuesday, July 8, 2008

Revenge: Spittin and Killin and 4-Wheel Drives

posted by on July 8 at 9:37 PM


Hank Williams Jr. had a friend who was killed in New York. Hank Williams Jr. wants revenge. He wants to spit tobacco into the eyes of the man who murdered his friend, and kill him.

Hank wrote a song about it called “A Country Boy Can Survive”. I tried to talk Hank out of killing the guy, but he won’t listen.

Hank sings:

I live back in the woods, you see / A woman and the kids, and the dogs and me / I got a shotgun rifle and a 4-wheel drive / And a country boy can survive

Nice that you give your woman a name, Hank. I’m sure she appreciates that. And I’m sure she appreciates it when you beat her.

Hank continues:

I can plow a field all day long / I can catch catfish from dusk till dawn / We make our own whiskey and our own smoke too / Ain’t too many things these ole boys can’t do

How about putting down the gun, can you do that?

I’d love to spit some Beechnut in that dude’s eyes / And shoot him with my old 45 Cause a country boy can survive

That’s just not nice at all, Hank. You can’t just go around killing people and spitting tobacco in their eyes.

But my friend was killed by that dude with a switchblade knife / For 43 dollars my friend lost his life

Yeah, but if you kill him, then his friends are going to kill you. Who’s going to raise your kids?

Country folks can survive

I know they’ll survive, Hank, but what if you tried to go about it the right way and called the police?

Country folks can survive

What if the guy is wearing Kevlar when you shoot him, and it doesn’t kill him?

Country folks can survive

“Loose lips burn bridges but ink speaks in tongues and it turns out the feedback is beautiful.”

posted by on July 8 at 5:38 PM

Jawbreaker, Hot Water Music, Shudder to Think, Superchunk… It’s very possible, with some luck (and possibly a couple plane tickets), I’ll be seeing all of these bands in 2008.

But where’s Army of Ponch? I want Army of Ponch!

Army of Ponch - “Those Old Hurts”

C’mon, guys. Play more shows. All the cool kids are doing it.

All the cool kids really ARE doing it! According to No Idea, Army of Ponch is playing in Gainsville August 2nd. So there’s hope.

Oh Summer ‘08, you are so great.

I Like Prince As Much As the Next Guy

posted by on July 8 at 4:30 PM

But “Purple Rain” is not an appropriate song for a perfect summer day like today. Take note, Broadway Grill.

Crue-L Grand Orchestra

posted by on July 8 at 3:57 PM

Last Night I was listening to Dimitri From Paris’s In The House Of Love mix compilation, which I hadn’t put on for a while, and somewhere in the middle of the mix it went into Crue-L Grand Orchestra’s “Spend A Day Without You” and it reminded me how much I love that song as well as the entire first Crue-L Grand Orchestra record. It’s now been over a decade since the Crue-L Grand Orchestra I record came out, yet it still remains one of my favorite “post-golden disco era” disco releases. I still haven’t been able to hunt down a copy, which will still probably remain a tired-some task, especially because anything released by Japan’s Crue-L Records tends to go out-of-print shortly after hitting the shelves. Regardless, if your able to get a hold of a copy, I highly recommend swiping it up.

Download Crue-L Grand Orchestra’s 1996 disco classic “Spend The Day Without You” and more by visiting the STUDIO! Disco Blog.

Shudder to Think (Officially) Reunite, Tour

posted by on July 8 at 3:37 PM


But no Seattle dates? Lame.

Here’s where you can see the band:

Aug 10 Baltimore, MD V Fest
Sept 5 Chicago, IL Park West
Sept 6 Toronto, ONT V Fest
Oct 3 Philadelphia, PA Theater of the Living Arts
Oct 4 New York, NY Webster Hall
Oct 11 Boston, MA Paradise
Oct 25 New Orleans, LA Voodoo Music Festival
Nov 1 Los Angeles, CA El Rey
Nov 2 San Francisco, CA The Fillmore

Matmos @ Triple Door

posted by on July 8 at 12:35 PM

2646198267_b254e0f921.jpgMatmos and Wobbly live on Hollow Earth Radio by hollowearthradio

Now I really wish I’d gone to the Extreme Animals show at 2020 Cycle on Sunday night. I skipped the show because I was just too tired from a long weekend of patriotic gluttony, but I’m sure it would have been the perfect counterpoint to last night’s Matmos performance at the Triple Door. Both acts are electronic duos. Both are operate on the far experimental fringes of electronic music—no heady house thumps here, just lo-fi MIDI thrash in the case of Extreme Animals and glitchy sample manipulation in the case of Matmos. Both are involved in visual as well as audio art—Extreme Animals share a member with the eye-searing Paper Rad collective; Matmos incorporate a variety of film and video into their live sets. Both are academics—both members of Extreme Animals are currently teaching at universities; while Matmos’ Drew Daniel is an assistant professor of English at Johns Hopkins, and partner MC Schmidt has taught at the San Francisco Art Institute. So how come Extreme Animals plays at a scrappy bicycle shop in the CD while Matmos performs at a posh dinner theater downtown?

Well, for all they have in common, the two acts have decidedly different aesthetics. Extreme Animals, in the fine Paper Rad tradition, are all about plush neon garbage—8-bit bleeps, pixellated flash graphics; clashing html color codes; hideous stuffed animals and textiles. Their shows are absurd, sweaty basement rave-ups, finding the not-so unlikely middle ground between happy hardcore and the regular punk variety. They’re also committed to the particular kind of DIY asceticism that insists on cheap, shitty gear, improvised sound, unusual spaces, and such—DIY that never lets you forget it’s DIY.

Matmos, on the other hand, are more staid live performers. Their setups are often elaborate (and probably expensive), and their routines are, if not carefully practiced, then at least painstakingly conceived. (It should be pointed out, for the DIY diehards, that Matmos, you know, do make all their music themselves, even if they cede the distribution and promotional concerns to Matador.) Last night’s show began with them wandering through the seated crowd, from the back of the room towards the stage, waving flashlights and laser pointers, the refracted and direct light triggering some optical sensors (possibly theremins, possibly just controllers) onstage—the sound went from a series of geiger-counter clicks to oscillating squeals to low frequency thumps. (Brandon Ivers: “This is some serious Blue Man Group shit.”)

When they got onstage, Daniel lit a candle next to his laptops. He made a triangle with his fingers above the candle and peered through it at the audience before picking up a musical triangle and striking it (“ting”) in the same spot. (If Extreme Animals lit anything on fire during their set, I’d just be worried.) There was, amidst their slowly growing noise, the sound of glass breaking, and it wasn’t entirely clear whether it was a sample triggered or the sound of someone in the venue actually breaking a glass (the black-clad waitstaff continued floating serenely around the darkened venue like shadows). At the end of this first “proper” song, Daniel blew the candle out to a momentary hush and then loud applause.

Matmos, for all the pornographic vhs footage and bursts of feedback or arrhythmia, are kind of like the Wolf Eyes you can bring home to mother without worrying they’ll make a mess of the dinner table. They’re dapper and polite, funny and smart, and their most abrasive musical moments still feel more academic and playful than genuinely anti-social. Schmidt compliments the Triple Door, saying it’s an incredible place to play, and the group (joined by a third man on guitar tonight) launches into a groovier, pulsing number backed by a psychedelic black and white mandala of fine, overlapping radial lines.

Next up was “a song about VHS tape, perhaps some of you older people remember it.” Here was the (admittedly softcore) porn—a hung, naked young man with a bleach blond mop of hair hanging out (literally) in some backyard hot tub (the guy kind of looked like Gary from Partman Parthorse, only without underpants). The footage was slowed and slurred, damaged as if by bad tape heads. The music was total faux porn soundtrack, all languid wah wah guitar, the stuff that these guys probably have down pat thanks to their sideline business scoring actual gay porn. It sounded good—you wonder if they take the soundtrack work as seriously as they do Matmos, or if maybe they don’t always take Matmos too seriously at all; the show was, at times, fairly goofy. At the song’s climax, the wah wah guitar built into a squalling, shredding feedback, matched by Daniel and Schmidt’s synth oscillations.

They played an older song, from The West, a record of theirs recently rereleased by Portland’s Autofact Records, who was also working Matmos’ merch booth. Schmidt: “A whole record label contained within one boy!” Daniel: “You can fit a lot in a boy.” (No rimshot.) The song featured Schmidt on acoustic guitar, first picking, then sliding up and down the fretboard, his tones plucked and piled up by Daniel on laptop. Behind them, close up still shots of a map jerked gradually westward from the desert to the Pacific coastline, manifest destiny style, before giving way to a pair of rotating spirals. The song ended with Schmidt repeating the phrase “As if it was” through a delay, separating the audible words from the movement of his mouth until the sound died down enough for him to be heard clearly in the room without a mic.

They introduced the next song by saying that the last time they played it had been in a punk forest party in Bologna, Italy, so it’s not all dinner theater all the time for Matmos anyway. The song featured deep, throbbing bass hum that really showed off the THX qualities of the Triple Door’s sound system, vibrating your ass without bruising your ears. The song had a kind of giddy, melting quality, aided by the stroboscopic dot-field projected behind them, with tones swelling and ebbing, eventually adding synthy arpeggios, feedback, and vocoder snippets. This one, I think, is off their most recent, the all-analog synth adventure Supreme Balloon. The song ended with Daniel weaving his way out of the room carrying a pair of speakers, playing out the song’s final sonar-pinging loop as the room’s bass vibration dissipated. They returned for an encore aided by opener Wobbly, an amiable rhythmic jam with the biggest beat of the night, which ended with Schmidt striking a gong.

If I hadn’t seen Extreme Animals a couple months ago, I’m sure I would’ve gone to 2020 Cycle, and I appreciate the DIY and basement shows as much as the next punk, but I have to say, I really enjoyed the kingly drinks-and-dinner-and-entertainment vibe at the Triple Door. Maybe I’m getting old and square, but if that means more shows like last night’s Matmos performance, then I’m down.

Bling-Bling White Boyz

posted by on July 8 at 12:26 PM

The whole thing is a joke:
blingbling.jpg What we must now judge is the funniness of the joke. Is it very funny or not so funny?

A hater:

for the love of god you’re a 15 year old suburban white-boy, not some ghetto
gangbanger. I hope this website is a joke because if it isn’t than you need
to 1) look in the mirror and realize you’re not black 2) stop with the lame
“gang signs” 3) pawn some of that jewelry and buy yourself a bike cuz that’s
all your 15 yr old ass can drive 4) realize that you’re not hardcore or
intimidating in the slightest bit 5) learn how to spell 6) stop with the
dumbass nick names.
for the record i think that you’re in the middle of some terrible identity
crisis, and you should go to the ghetto and try “pimpin” with some real
gangsters and see how long you live.

sometimes the truth hurts

Death Cab for Cutie - “Cath”

posted by on July 8 at 11:42 AM

The Book Was Better….

posted by on July 8 at 11:38 AM

A few years back while blinking my way through a first listen of Mastodon’s Leviathan, my wandering mind and I began to compile a rough list of full-length albums based on literary sources. We didn’t get very far. Here is that list:

Leviathan … a distillation of Moby Dick.
Pink Floyd’s Animals … something to do with Animal Farm.
Neutral Milk Hotel’s In the Aeroplane Over the Sea … ‘inspired by’ The Diary of Anne Frank.

Also, is the Roots album Things Fall Apart based on Achebe’s novel? Not sure. I’ve only heard it once.

That’s all I could think of, then and now. There must be more. I’m missing something obvious, I can feel it. A little help … anyone?

(Deep-ish thoughts below….)

Continue reading "The Book Was Better...." »

Matmos & Wobbly on Hollow Earth Radio

posted by on July 8 at 11:35 AM


by hollowearthradio

The Best Thing About My Trip to Portland Was…

posted by on July 8 at 11:20 AM

Being introduced to


Yeah, Wombstretcha. With an A instead of an ER. And last name The Magnificent.

Actually, this may have been the worst part about my recent trip to Portland.


I saw this sticker on the back of a stop sign. Of course the first thing I do when I get back to Seattle is check out his MySpace page. It says it’s comedy, so I listened. I like funny things.

Here are just a few of his hits (via

“Poach Yo’ Eggs”

(About killing women and selling their eggs on the black market)

“Tramp Collector”

(Basically a shitty rap version of “88 Lines About 44 Women”)

“Shake It (Like a Baby)”

(Containing the line: “Shake it like a baby, let me see you gettin’ violent / like your ass was a screamin’ preemie, shake it ‘til it’s silent”)

And look! They have a video!

I mean, I know it’s supposed to be funny and all, but it’s not really… Nor is it even that good. That’s the last time I take music suggestions from the back of a stop sign.

Tonight in Music: Kode9

posted by on July 8 at 10:45 AM

Kode9 is at Chop Suey tonight—he’s got both a Stranger Suggests and a preview in this week’s paper. Read Charles’ piece (where he’s able to get in something about the Communist Manifesto by paragraph two) here.

Kode9 - “Time Patrol”
Kode9 at Chop Suey
Kode9 is a London-based Scotsman, philosophy professor, dubstep/grime producer, and owner of Hyperdub, one of the most innovative record labels in the world. From this label we get the hero of our time, Burial (or Saint Burial), and the madman of our time, the Spaceape—both were discovered by Kode9, the father of hauntology, a kind of thinking and feeling that emerged after the optimism of the ’90s crashed against the wall of Bush’s ’00s. Kode9’s beats soundtrack a world that is dead but haunted by the living. (Chop Suey, 1325 E Madison St, 324-8000. 9 pm, $12, 21+.) by Charles Mudede

Find out what else is happening around town in our comprehensive and searchable calendar.

Today’s Music News

posted by on July 8 at 10:24 AM

Mediocrity and the devil: Nickelback signs tour/record deal with Live Nation

Grumpy old men: Noel Gallagher makes asinine comment

Accountants instead of music fans: EMI Records hires new CEO

Could it be they put out one too many lousy records?: Record sales down from 2007

Asshole and proud: No anger-management treatment for Kanye

Work Stereo

posted by on July 8 at 9:11 AM

At the place where I spend most of my evenings there is a stereo. My coworkers do not understand what a privilege this stereo is. They can’t see that the full control they wield of this stereo is a mighty gift, a gift rarely enjoyed by the huddled masses cowering near minimum wage. There is no mandated corporate bullshit megamix on loop. No required easy listening. There is an iPod dock and limitless possibilities, unless those possibilities contain swearing. And what do my coworkers do? They piss on this luxury right in its face.

First, there’s the playlist lacking any semblance of innovation. There isn’t a single song on there that hasn’t seen heavy rotation on FM radio. There’s no rhyme or reason behind why the songs are grouped together: “Baby I Love Your Way” moves into “Don’t Worry Be Happy,” on to four Bob Marley songs. “Hit Me Baby One More Time” is followed by the Gin Blossoms and “Breakfast at Tiffany’s,” then there’s a Backstreet Boys jam and maybe “What if God Was One of Us.” A brief history of commercial radio, chaotically chosen and piled together in a sloppy heap and put on shuffle. In the list’s inception the creator expends virtually no energy, instead opting to inquire meekly: “What songs have I heard a billion fucking times before, and what can I do to hear them again?” Many of these songs appear to have been chosen for “ironic” value, but seriously, if you keep telling the same ironic joke repeatedly, every three minutes for several hours, day after day, eventually the recipient of that joke is going to start daydreaming about ways he can poison you. With iPods like these, the freedom afforded through the stereo had been utterly disregarded, no chances taken. Even if the songs aren’t “good,” they’re familiar, and that’s all some people need to crawl though their workday.

Yet I can’t decide which is worse: squandering your gift on radio banality, or exploiting it with vapid independent internet garbage? There are some young college kids who work at my shop. They listen to music like a god damn fourteen year old girl. It’s like they’ve embraced every swoopy-haired emo power pop band trying to make a million dollars on Myspace, and they play them, all the time. Normally this stuff chunks by under my radar, purposefully, but now it’s in my face whether I want to deal with it or not. It sounds sort of like the “Emo” I listened to a decade ago, but it’s devolved. Its forefathers had barely figured out thumbs - there really wasn’t room to dumb it down any farther. When New Found Glory was getting a lot of attention I never thought about what the bands that would later reference them as inspirations would sound like. I didn’t want to think about it. Now I get to ALL THE TIME. Pop punk is the ”Boy Band” of the 2000s. At work I hear group after group - I don’t know most of the band names and don’t bother to check. Because they are all doing the same thing (namely, playing Warped Tour). Every song is a formula, each lyric purposefully picked to stimulate a teenager’s angst gland. To finger it delicately, but defiantly. With 5150s. And jump kicks. The messages are innocuous and clichéd; there is no emotion in the Emo. It is now merely the streamlined essence of a former “independent” scene. If a bunch of a band’s songs use the ubiquitous halftime/double-bass judding breakdown then they get to call themselves “Hardcore.” For people who get off on actual hard music these bands are the equivalent of dry-humping in stiff jeans. Just like high school, all over again.

Some effort had to be spent finding these crappy bands. Obviously a normal person can ignore them with great ease. Is the attempt to reach out and discover these groups worthy of any praise? When it comes to choosing music for the work stereo which is the greater sin: taking no risks and only listening to what the radio tells you, or trying to “think outside the box” and getting trapped in an arguably stupider one?

Monday, July 7, 2008

Heavy Metal Hamburger

posted by on July 7 at 5:39 PM


Many Seattleites sing the praises of Palace Kitchen’s hamburger. I’m willing to concede that it may very well be the best burger in Seattle (or at least in the top 3), but Tom Douglas’s restaurant doesn’t blast Pantera while you chow down on the American classic. I guess Palace doesn’t really cater to my demographic. I have to go all the way to the Midwest to savor an exquisite burger under prime conditions.

Situated in Chicago’s Avondale neighborhood, Kuma’s Corner is my kind of eatery. Heavy metal blares throughout the restaurant at all times. The beer selection is snobby in the best possible way (PBR is the only domestic brew available). And the burgers are truly delicious. Of the 22 burgers on the menu, 20 are named after metal bands. Highlights include the Slayer, featuring a pile of fries topped with a half-pound burger, chili, cherry peppers, andouille, onions, jack cheese, and “Anger.” The Clutch burger features four kinds of cheese. The Goblin Cock comes with a quarter-pound hot dog on top. They also offer a pulled-pork sandwich (the Pig Destroyer) and a buffalo chicken sandwich (the Hate Beak). I’ve sampled five menu items and was blown away by all of them.

I’m crossing my fingers for a Seattle franchise.

Saturday’s Sub Pop Fest is Sold Out

posted by on July 7 at 1:43 PM

True story. If you didn’t get tickets for Saturday’s installment of Sub Pop’s 20th Anniversary Party, you’re outta luck.

But there are still tickets available for Sunday’s show as well as the comedy showcase at the Moore Friday night. But tickets to both, I’m told, are going fast—act quickly if you don’t wanna be left out.

“It Must Be in the Air Here….”

posted by on July 7 at 1:15 PM


I have a crush on Say Hi. But unlike most musical crushes of mine, where I can’t get enough no matter what, Say Hi’s mellow and sweet indie pop isn’t something I can listen to all the time. It has specific purposes.

For instance, Say Hi is one of my favorite things to listen to while I go for a relaxed, contemplative walk after dark. 2006’s Impeccable Blahs is a collection of love songs hidden under the guise of vampire fairy tales and they make the most sense in the shadows of the street lights. It’s cute but not dismissively so, and it’s not overbearing, so my mind can wander.

When I was fighting crippling heartache over a year ago, Imbeccable Blahs was one of the records that kept me company—it wasn’t overtly bitter, and it wasn’t too optimistic either. It is low-key. It’s playful and distracting while still having heart. Plus, there’s a song called “Snowcones and Puppies”… two of my favorite things in the whole world.

With the follow up record The Wishes and the Glitch, Say Hi to Your Mom shortened their moniker to Say Hi and they ditched the vampire theme (something like that is only good for one record anyway). Now living in Seattle (by way of Brooklyn), Say Hi starts their new album with the song “Northwestern Girls,” and unlike the band’s previous work, I can’t get enough of it… no matter the circumstance. It’s basically the only thing I’ve listened to for the past week.

It’s singer Eric Elbogen’s ode to the ladies of the Northwest. He’s smitten with their “fresh faces,” he loves that they all “seem so nice”—he has a crush on each and every one of them (us?). In the chorus he sings over and over, with part disbelief and part excitement, “It must be in the air here…” Because that’s the only way to explain how so many amazing women can exist in one place—there got to be something in the air.

I’m a Northwestern Girl. Looks like Say Hi has as much a crush on me as I do on them.

“Northwestern Girls”

“These Fangs”

“Let’s Talk About Spaceships”

Say Hi play the Vera stage at the Capitol Hill Block Party Friday, July 25th. Click here for all your Block Party info, including the full line-up and where to buy tickets.

Kate Simko’s Set From the WMC

posted by on July 7 at 12:54 PM


Megan’s already posted my commentary about Kate Simko’s appearance tonight at Nectar. I made mention of her set at Spectral’s Winter Music Conference party, and it only makes sense to share the recording with you. Here it is:

Kate Simko @ Spectral WMC Party 29.03.2008


Ice Hiphop

posted by on July 7 at 12:49 PM

Remember her? She gave us “U.N.I.T.Y.” and “Rough.”

Days go by. The economic climate changes. And now the Queen of hiphop is repping the arctic.
arctic-tale-1.jpg Yes, Latifah is the narrator of Arctic Tale. So sad, so sad.

That’s Not a Beer Belly, That’s a Baby

posted by on July 7 at 12:46 PM


Yesterday a very pregnant Gwen Stefani and her Bush singing husband (Gavin Rossdale) sat in Roger Federer’s Wimbledon box. They cheered and cheered but could not help Federer win his sixth consecutive Wimbledon Tennis Championship. Spain’s Rafael Nadal won in 5 sets. Stefani didn’t watch the whole match. Maybe she left to have the baby.

Here’s Gavin talking about his new album Wanderlust.

Go see Matmos tonight

posted by on July 7 at 12:41 PM


As per Eric’s recommendation, you should really go see Matmos at the Triple Door tonight. Especially since the Sounders have the night off. (And the Mariners are playing an away game.)

Oh, I know what you’re thinking: How much overlap can there be between sports fans and devotees of “bourgie laptop homos”? Plenty, according to band member MC Schmidt. The duo had to re-route part of their recent European tour because important football matches fell on the same dates as their concerts:

“We [originally] had different shows booked in Italy, but most of them were cancelled, because people love football—soccer, that is—so much that no one goes to concerts during the football games. I thought it was just us, but our manager was telling us about Ryuichi Sakamoto, who was playing a show with 3,000 capacity— and apparently 450 people returned their tickets when Italy won some stage of the European Cup. And he had to cancel the show. It’s hard to imagine from an American perspective, but people who love football are the people who love weird music here.”

Fleet Foxes - “White Winter Hymnal”

posted by on July 7 at 12:26 PM

This first video from Fleet Foxes was not surprisingly directed by singer Robin Pecknold’s brother, Sean. You might remember another video he made using this song last summer. Fleet Foxes play the Capitol Hill Block Party on Saturday, July 26th.

Kanye’s Abused MacBook Air Will Thank Him

posted by on July 7 at 12:10 PM


Rapper KANYE WEST is reportedly enrolling in anger management classes - to tackle his frequent mood swings. The outspoken hip-hop star has made several public outbursts in the past - and his representatives are allegedly eager to resolve the problem. A source tells Britain’s The Sun newspaper, “Kanye’s management team came up with the idea. “His mood swings were beginning to play a part in his commercial enterprises as people felt he was miserable all the time.” West hit the headlines in September 2005 for making a controversial attack on U.S. president George W. Bush during a live Hurricane Katrina fundraising telethon.

(Thanks for the tip, Matt Hickey.)

Today’s Music News

posted by on July 7 at 11:42 AM

Win a bloodborne pathogen: Pete Doherty sells blood painting

Led Zeppelin is nerdy enough as is: Jimmy Page says no to his songs on video games

Jerry Garcia deserves more credit than that: 311 claim to be the new Grateful Dead

Osmonds vs. Osbournes: Ozzy and Sharon to host variety show

Sensitive men: Jim James, Conor Oberst, and M. Ward unite

Your Heart Breaks at Dearborn

posted by on July 7 at 11:17 AM


by Joseph Peter

Your Heart Breaks sounds like this:

“Captain, Oh Captain”

Tonight in Music: Ratatat, Matmos, Kate Simko, Trouble

posted by on July 7 at 10:53 AM

Matmos - “Exciter Lamp and the Variable Band”

From Stranger Suggests:

Matmos at Triple Door
Avant-electronic duo Matmos creates high-concept albums from digitally buggered audio samples (in 2001, they made a record based around sounds from cosmetic surgeries). Their latest, Supreme Balloon, was composed entirely without microphones, using only the direct input from an imposing assortment of vintage modular synthesizers. Live, Matmos might process sounds from such sources as a contact mic attached to a balloon, melting ice, or hair clippers as they shave a fan’s hair into a Mohawk. Genius. With SF noise makers Wobbly. (The Triple Door, 216 Union St, 838-4333. 8 pm, $20, all ages.) by Eric Grandy

Read Tony Ware’s review of Matmos’ new album Supreme Balloon here.

And after the Matmos show, Donte Parks suggests you head to Nectar for Kate Simko. From this week’s Bug in the Bassbin:

The last time Kate Simko appeared in this space [June 28, 2007], the Chicago techno producer was just getting her name out as a solo act after a string of well-regarded releases as one half of Detalles (along with Andres Bucci). In the year since, she’s been on a tear, touring damn near everywhere, and solidifying her place on Ghostly International’s Spectral label roster with the release of the EP She Said in March. In support of She Said, Simko is the current headliner for the ongoing Spectral Residency tour, where her live set continues to wow audiences (check the recording from Spectral’s Winter Music Conference party if you need proof). The Residency arrives in Seattle on Monday at Nectar, and it’s definitely where you’ll want to be after Matmos lets out.


Also, Ratatat is at Neumo’s. Kurt B. Reigley interviewed the band in this week’s music section. An excerpt:

In the beginning, that easygoing attitude showed. The stripped-down grooves and surging fuzz guitar of their 2004 eponymous debut sounded good on the dance floor, but the band struggled to sustain interest live, where their mellow-bordering-on-static performances—no seam-splitting choreography or mind-blowing special effects, just two dudes playing their instruments—did little to enhance the material.

But Ratatat quickly adapted. The writing of their second album, the markedly improved Classics, was informed by what did—and didn’t—get live audiences pumped up. With its more defined sense of melody, Classics also confirmed what their self-released remixes of hiphop tracks by Jay-Z and Kanye West hinted at: Their slinky sound packed more punch when anchored by a focal point.

With their latest album, LP3, the duo continue to explore new ways of making an impact. From fluid Spanish guitar licks on “Mi Viejo,” to the courtly, A Clockwork Orange–style synths prancing through “Dura,” the album’s 13 tracks support Stroud’s assertion that even though they work sans vocalists, they definitely hear voices. “I like to think of the guitar parts as singing, like listening to the backups on a James Brown track will give me ideas.”

Read the whole story here.

Ratatat - “Mirando” from LP3

And lastly, some metal:

Trouble - “At the End of My Daze”
Trouble, Danava, Witchburn (El Corazón) Portland’s Danava wear their guitars high and their hair long. They’re not as demonic as shred-tastic Kemado labelmates Saviours, but they still summon something evil. Though they merit the obvious comparisons to early Sabbath, Danava’s sound is lightened up by an even heavier dose of the acidic, loose bite of psych. Like Danava, Chicago’s Trouble also nod to Sabbath’s dark side. Since the late-’70s, Trouble have been pumping out doom metal, and their sound comes with everything you’d expect from the genre—head-bang worthy booming bass, wicked guitar solos, and yarled vocals about sin, darkness, and chicks who want to die. And hey, Dave Grohl is a fan. Through the years they’ve had a couple breakups, reunions, and lineup changes; last year’s Simple Mind Condition is their first studio album in over 10 years. Megan Seling

Heaven Is In The Backseat Of My Cadillac

posted by on July 7 at 10:34 AM


Last night I played the new edit from The Revenge, which was just released this past week on Jiscomusic. This time around, The Revenge, contributor to the great re-edit and disco blog OOFT Music™, re-edits Hot Chocolates’s 1976 classic “Heaven Is In The Backseat Of My Cadillac” which appeared on their Man to Man LP. I’ve been a big fan of many of the edits I find on his OOFT Music™ blog, always putting a new and interesting spin on classic tracks from artists like Marvin Gaye, Don Ray, Logg, Shirley Lites, even The Eagles, Sade, and Survivor. However that being said, he probably put together his best edit that I’ve heard with “Cadillac looping the chorus “Heaven’s in the Back Seat of My Cadillac…” over and over again to a more driving back beat groove compared to the 1976 original. Overall, it’s safe to say that The Revenge have easily produced one of my favorite edits of the year. Go pick it up while there are still some copies out there!

Download The Revenge’s re-edit of Hot Chocolates’s 1976 classic “Heaven Is In The Backseat Of My Cadillac” and more by visiting this site.

Sunday, July 6, 2008

Big Business, Akimbo & Coconut Coolouts @ El Corazón

posted by on July 6 at 9:09 PM

Surprisingly, this was my first Coconut Coolouts experience. The immediate impression was not so great - there was a moment within the first ten minutes of the set that I legitimately asked myself, “Do I hate this?” As the band ripped through their 60s throwback/party punk set, colorful balloons bouncing everywhere, the answer became a definite “No.” What the songs lacked in innovation they more than made up with in exuberance, but something wasn’t right. The singer asked the crowd again and again if they were ready to party; they were. But there was very little partying going on, no matter how much the band tried to squeeze some out. If Coconut Coolouts played the best set of their lives last night it would still have been a minor failure, through no fault of their own. As a band, they simply didn’t belong in that club, on that stage. They should have been playing on a beach somewhere in front of a wood-paneled station wagon full of pizza, never in the dank pit that is El Corazón.

Don’t get me wrong, that dank pit is an appropriate setting for lots of bands, like Akimbo. Any band who asks the audience, “What do you guys think about the new 4th Edition of D&D?” needs to be playing in the dankest hole they can find, otherwise they’re being hypocrites. Akimbo unfortunately offered no new songs from their upcoming record Jersey Shores, but smashed through their older tunes with the same raw power they bequeath every crowd that comes their way. This time the crowd at El Corazón was wild for them, shouting particularly stupid shit between songs. Dudes in Pantera shirts were havin’ a good time. Here’s a video of “Dungeon Bastard” from Navigating the Bronze:

This was the fifth or sixth time I’ve seen Big Business, and up until now I hadn’t quite been sold on them. From the few listens I’d given their newest record Here Comes the Waterworks it was evident the band was moving in a good direction, but it was the news that they had finally acquired a full time guitarist that made me excited to see them live again. The difference is enormous. No matter how many bass amps they piled on stage, no matter how huge or rich Jared’s tone was, they are a flat-out more full and interesting band with a guitarist. The one they got, Toshi Kasai, seems to be a perfect fit for them - his riffs intricate and compelling while never taking center stage over the driving bass. They sounded huge, as not demonstrated by the microphone in my digital camera. Here is “Start Your Digging:”

The most impressive thing about Big Business’ set was how they took risks and pushed each other as musicians. Most bands know exactly what they are going to play from start to finish; they don’t leave opportunities to fall out of a comfort zone. Big Business’ slow, improvised starts and feedback riffing transitions made it clear they were often playing outside of rehearsed arrangements, testing each other’s reactions. This is no news flash, but it deserves to be repeated: Coady Willis is a hell of a drummer. His parts are often so complicated he makes small mistakes, but it never matters because he is obviously pushing himself to the limit of his talents. Innovation is much more interesting than precision, and if they can’t go perfectly hand in hand (Coady is pretty damn close) I’ll take the musician who’s pushing himself any day of the week.

The set ended with Jared ditching his bass, screaming about how he can’t walk down the street because there’s “too many creeps” (his car had recently been vandalized outside of his house). He spent several minutes wandering through and falling on top of the crowd while yelling this statement. Towards the end some kid up front got a hold of his bass and held it up in the air, strumming it defiantly until Jared plopped down on top of him like a rock and roll walrus and snatched it back. He gave a mighty exhale as he walked off stage.

Dragonforce is Playing a Free Show at El Corazón

posted by on July 6 at 4:20 PM


It’s one of those “Myspace Secret Shows.” Doors are at 7:00, so if you want to get in, you should probably get in line…now.